Ever walked into a Chinese government meeting room or seen pictures during official meetings and wondered, "Why are some of those chairs so massive?" Turns out, these four-legged giants aren't just about comfort or making a statement – they hold centuries of tradition and symbolism. Beyond just their ergonomic design, chairs, as with most Chinese furniture, have a backstory that's as fascinating as it is regal.

The early days of seating "furniture" in China started with floor mats. Back then, furniture barely reached beyond the ground.

A precursor to the traditional Chinese chair was the Hu bed. Its introduction during the Han Dynasty (206 BC-AD 220) saw people move from sitting on the floor to using elevated seating, adapting their posture and daily habits.

As various northwestern ethnic groups entered central China, their cultures blended with local traditions. This fusion led to the creation of new, taller furniture styles, and by the Sui (581-618) and Tang (618-907) dynasties, these seats became essential for the wealthy and powerful.

During the Tang Dynasty, sitting habits evolved further, and people began sitting with their feet down. The Hu beds had an upgrade, now featuring backrests. Over time, these evolved into what we call chairs today.

During the Song Dynasty (960–1279), tall chairs became more common, and their use reflected social hierarchy within families. Spacious chairs, perfect for cross-legged sitting, became the hallmark of official gatherings, a tradition that's evolved into those very grand meeting chairs we see today.

The rapid development of chairs at this time was influenced by the merging of Hu beds and top chairs, as well as the Confucian and Taoist philosophies. By the Ming (1368–1644) and Qing (1644-1911) dynasties, Chinese chairs featured exquisite craftsmanship and luxurious materials.

For nobles in the Qing Dynasty, these chairs symbolized power and status, while simpler versions were used by ordinary people. The rise of chairs also led to the development of other tall furniture, like dining tables. In modern times, Western influences have brought even more variety, including the introduction of soft sofas.

Design through the dynasties

In Chinese, the term yi, which translates as "lean" or "to lean on," refers to any seat with a backrest, so the term was adopted in naming most of the chair designs in China.

Most traditional chair forms emerged during the Tang and Song dynasties, evolving in size, construction, materials and decoration.

The folding chair (Jiaoyi)

Jiaoyi refers to the crisscrossed legs of the folding chair. This style of chair originated in the Tang Dynasty but became popular during the Song. There are two variations of this kind of chair: straight and rounded back. The rounded back chairs featured mainly during the Ming Dynasty, and, generally, their joints were made of metal fittings, and seats were either constructed out of leather or woven rope. These folding chairs were renowned for their portability, often used during travel.

Grand tutor chair (Taishi yi)

A product of the Song Dynasty, this is the only Chinese chair named after a political title – Taishi, which translates as "grand tutor" or "historian." This specific chair underwent various changes across the dynasties. During the Song Dynasty, the chair was known for its headrest because it's believed that a controversial Song official, while resting on a roundback chair, dropped his headscarf, and, as a result, a chair with a headrest came into being. During the Ming Dynasty, the chair became known for its round back more than anything, and in the Qing Dynasty, the chair received an elegant upgrade. During this time, Taishi chairs became status symbols, displayed in formal venues and made and finished with exquisite materials.

Official's hat chair (Guanmao yi)

Named after its resemblance to ancient officials' hats, this chair appeared during the Song, Yuan (1271-1368) and Ming dynasties. The name may also be suggestive of its common use by officials. These chairs are known for their signature extended crest rail and hand grips and come in two categories: the yokeback armchair (with four protruding ends) and the southern official's armchair, with a more reserved style.

Round back armchair (Quanyi)

This chair was very popular during the Ming Dynasty. Although originating in the Tang, taking form in the Song and perfected during the Ming, this chair features a circular backrest, resembling a horseshoe, that seamlessly transitions into the arms. Its ergonomic and elegant design offers full arm support and comfort. Its rounded backrest and smooth, downward-sloping armrest provide comfortable support for elbows and arms.

Rose chair (Meigui yi)

Also known as the "lady's chair," it was traditionally used in the private quarters of noblewomen. Ladies were expected to sit gracefully – upright with straight backs and occupying only one-third of the seat, a reflection of proper etiquette. The chair's design features a typically low back nearly level with the arms. The backrest often features decorative carvings or panels to enhance its delicate, feminine beauty. While beautiful, these chairs aren't for comfort.

Lamp hanger chair (Denggua yi)

The lamp hanger chair is considered a side chair, or one without arms, and is one of the more common chairs in Chinese history. Named after its resemblance to a bamboo lamp hanger used in southern Chinese kitchens. This style was widespread from the five dynasties through the Ming era.

Chan chair (Chan yi)

These could be considered meditation chairs because of their specific design for Buddhist monks for that purpose. This chair allows for cross-legged sitting and helps keep the spine upright for proper meditation posture. Generally the design is minimalistic with a subtle frame to create a personal meditative space. This chair is likely not the most comfortable.

Palace chair (Huanggong yi)

The palace chair is a product of the Qing Dynasty palaces and bears similarities to the roundback armchair. They symbolized hierarchy and often featured dragons and phoenixes. Nowadays, these once exclusive chairs have entered ordinary homes, evolving in both design and scale and often available in sets.

Materials and pigments

In the early days of chairs, using wood as a medium was non-existent. Instead, copper, iron and stone were more popular choices. But, with the evolution of Chinese furniture came the introduction of wood material. Indigenous hardwoods such as huanghuali (yellow rosewood), zitan (purple sandalwood) and nanmu were popular for their beauty, durability and unique grain patterns. Furniture makers also used bamboo, boxwood, camphor and walnut, specifically for their individual qualities of strength, fragrance or workability.

Lacquer, from the sap of the lacquer tree, was applied in layers to create a glossy, resilient surface, while pigments were often mixed into the lacquer for color. Some pieces would be adorned with gems, stones, golden inlays and pearls signifying opulence or status. Carvings, motifs and edges signified spiritual beliefs or social hierarchy.

The influence of traditional Chinese furniture is still evident today. Even with the modernization of many pieces, the cultural influence and significance still shine through. Internationally, the appeal of Chinese design is evident in everything from luxury hotels to personal collections, with classic Chinese furniture selling for millions at auctions. 

The emphasis on craftsmanship, harmony and the use of natural materials resonates with global trends toward authenticity and sustainability.